Updated Jan. 14, 2015 9:19 p.m. ET
From Museum Mile to the High Line, many of the city’s major cultural institutions are in the midst of costly real estate or strategic projects this year. That means arts fundraisers must polish their pitches, woo patrons with creative naming opportunities—your family name on the passenger drop-off area!—and target the next generation of donors.
Some groups may end up vying for the same wallets, but fundraisers are hopeful that there are enough patrons to go around.
“It’s not survival of the fittest,” said Nancy Raybin, a philanthropy consultant. “There are people who love the Whitney, people who love the Met Museum, and people who love the Guggenheim.”
That’s a good thing, given the scope of projects under way.
For example, the Museum of Modern Art has embarked on an expansion in Midtown, largely privately funded, that will add more than 40,000 square feet of new galleries. Eleven blocks away, the New York Public Library is planning a $300 million renovation of its landmark Beaux-Arts building and the circulating library across the street.
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Workers in a section of the lobby of the new Whitney Museum of American Art building on Gansevoort Street on Wednesday. CLAUDIO PAPAPIETRO FOR THE WALL STREET JOURNAL
The American Museum of Natural History wants to build a new $325 million science and education center for its Upper West Side campus. The addition will be named after trustee and longtime donor Richard Gilder, who seeded the campaign with a $50 million gift (more than $100 million has been raised so far).
Across Central Park, the Frick Collection has proposed adding a new wing that would that boost its space by 42,000 square feet. Meanwhile, in September the Metropolitan Museum of Art is taking over the Marcel Breuer building on Madison Avenue, with programming set to open there in spring 2016.
That space was recently vacated by the Whitney Museum of American Art, which is readying for the May opening of its $422 million new home at the southern tip of the High Line. At its north end, the Hudson Yards development includes Culture Shed, a $360 million multi-use arts space set to begin construction this year.
In the 2015 fiscal year the New York City’s Department of Cultural Affairs added about $120 million in new projects to its capital portfolio. Over the next four years the city’s cultural capital plan includes $772 million in projects ranging from the American Museum of Natural History expansion to developments outside Manhattan.
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Rendering of the proposed Culture Shed. DILLER SCOFIDIO + RENFRO IN COLLABORATION WITH ROCKWELL GROUP
Among them: upgrades to the historic music hall at the Snug Harbor Cultural Center & Botanical Garden in Staten Island, and renovations of the Bronx River Art Center and the Brooklyn Museum’s education division. This fall a new home for St. Ann’s Warehouse, the experimental theater, is also expected to be completed, in a refurbished Civil War-era tobacco warehouse on the Brooklyn waterfront.
With government funding for the arts on the decline in the U.S., much of the burden rests on the private sector.
Individual philanthropy is the strongest source of support for American art museums, comprising 33% of total contributions, according to a 2014 survey by the Association of Art Museum Directors. Foundations and trusts accounted for one-fifth, and corporate giving came to 11%.
Purse strings in the private sector appear to be loosening as the economy strengthens. Between 2009 and 2013, giving to arts, culture and humanities organizations increased by an estimated 22%—to $16.66 billion—according to a 2014 report on philanthropy by the Giving U.S.A. Foundation, a public-service initiative of the Giving Institute, a trade association for fundraising consultants and the nonprofit services industry.
Individual donors and foundations have both benefited from a resurgent stock market, said Michael Hamill Remaley, senior vice president for public policy and communications at Philanthropy New York.
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Rendering of the proposed St. Ann’s Warehouse. MARVEL ARCHITECTS
“These big capital campaigns for the gold-plated arts and cultural institutions probably put the most pressure on the people who are on that party circuit,” Mr. Remaley said. “But the 1% is not hurting.”
Still, donations to museums and performing-arts groups tend to be dwarfed by gifts to education, religious and human-services organizations. That means cultural organizations have to come up with creative ways to fund capital projects, and to ensure that expansions can be sustained over time.
First off, said Karen Brooks Hopkins, president of the Brooklyn Academy of Music, fundraisers need to break down all the naming opportunities associated with a project and start matchmaking.
The family of a longtime trustee might want to put his or her name on a shiny new building. The recent renovation at Lincoln Center for the Performing Arts also involved naming rights for an illuminated lawn, a grove of trees and a covered passenger drop-off area on the concourse level, as well as for the roadway leading down there.
In other cases, donors might give money to honor an arts figure. In 1999 the Doris Duke Charitable Foundation gave the Brooklyn Academy of Music $3.5 million in conjunction with the renaming of its BAM Majestic Theater as the BAM Harvey Theater, after the organization’s outgoing president and executive producer, Harvey Lichtenstein.
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The new $422 million home of the Whitney Museum of American Art in the Meatpacking District is getting ready for its May opening. CLAUDIO PAPAPIETRO FOR THE WALL STREET JOURNAL
Campaigns also must appeal to the coming generation of philanthropists, donors in their 40s and 50s who tend to have a more hands-on approach to giving, said Jed Bernstein, Lincoln Center’s president.
“It’s not about check-writing or standing back and watching your money go to work,” he said. “They want to feel connected to the organization, not just be a financial underwriter.”
Some campaigns fold in multiple objectives.
A planned renovation of Avery Fisher Hall, home of the New York Philharmonic, involves a number of moving parts. Construction is estimated to cost more than $500 million. Lincoln Center is also paying the Fisher family $15 million to take back naming rights for the venue.
At the same time, the orchestra is embarking on a campaign to expand its endowment, an effort that will “allow us to take maximum advantage of a revitalized performance home when the time comes,” its president, Matthew VanBesien, said.
“It’s easier to raise money for a building because it’s literally concrete,” said Sharon Gersten Luckman, who during her tenure as executive director of Alvin Ailey American Dance Theater presided over a $75 million campaign that created a permanent home for the company in 2004 and established its first endowment.
“Nobody gets all their money from their closest friends and board members,” said Ms. Luckman. “There is a lot of money in New York, and a lot of competition in New York.”
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Write to Jennifer Smith at [email protected]